of the track, including "80s rock ballads" and "queer electronica", with the goal of releasing a record that would meet the standard of Prince, two versions of the midtempo ballad were released for the album then for radio, where "everything, bar Robyn's vocal, is electronic". A third, downtempo, 'pared down', piano-based version, recorded from her performance on 16 June 2010 on BBC Radio 1 was then released separately from the project on Radio 1's Live Lounge – Volume 5 on 22 October 2010. Both electronic versions keep a tempo of 117 beats per minute in common time, which NPR Sam Sanders implies was arranged deliberately as it was "situated [...] pretty close to what scientists say is the preferred walking tempo for humans". All three versions are in the key of G major, following an "immediately familiar one-five-four" chord progression of G–D–C and traditional ABABCB structure except for one pre-chorus line following its first verse and one outro line of a portion of its chorus following its choral refrain that concludes the song, with Robyn's vocals spanning from D4 to E5. The "brutal", "direct", and "minimal" electropop album version, the first version of the song released, leaked on approximately 19 April, then was released as a digital single the next day, followed by its official release on 1 June 2010 as Body Talk Pt. 1's lead single. Its focus is on its "relentless jackhammer" "iconic throbbing bass backbone" synth, made using the Korg Mono/Poly (MP-4) analog synthesizer. That is followed by the use of a "kick drum" on beats "1 and 3" and a "snare" on beats "1 and 4", both of which last through the entire song, accented with "eight repeated, robotic, hihat quavers halfway through [beginning at 1:57], [...] little clave tinkles in the verses [1:36] and the odd crash cymbal". A "sad piano motif" accompanies the song's "middle 8", the "one moment in the track when you're allowed to pause", then "[at 2:45]...the pause is broken by 16 snare hits, all at maximum volume, with no crescendo or dynamic," followed by a return to the choral refrain that closes out the song. USC musicologist Nate Sloan highlighted the "miracle" of the "lyrics [...] sparseness" and the "six seconds of silence between each line in the verse" which he observed "wasn't a lot of time in the abstract" but "eons" on a pop song, which NPR's Sam Sanders